Results
-
£59.95
MY STRENGTH, MY TOWER Rhapsodic Variations (Brass Band Set) - Dean Goffin
This music consists of a theme followed by five extensive variations. The theme is the composer's own tune set to the words, 'Thee will I love, my strength, my tower', a hymn by Johann Scheffler translated by John Wesley. A strong modal flavour is characteristic of the theme. Variation 1: This is a light and graceful variation with a good deal of imitative writing. It leads, without a break, into the next variation. Variation 2: Fire and ferocity are asked for in the course of this variation. Variation 3: This variation demonstrates the original approach of the composer. Solo lines for cornet and euphonium are included with their arabesques and arpeggii. Variation 4: Taking the form of a passacaglia, the 'ground' is given out at once by the basses. Fragments of the 'ground', plain or decorated, are combined and used in a number of ways, revealing the composer's mastery of counterpoint. Variation 5: The briskly moving and scintillating final variation abounds in sudden variations of dynamic. The tempo remains constant until an increase is called for in the coda. This 'contest' version has been prepared by Brian Bowen who was asked to re-work the percussion part and introduce a repiano cornet part (Salvation Army band publications do not, in general, have a part for repiano cornet).
Estimated dispatch 7-14 working days
-
£77.00General Series Brass Band Journal, Numbers 2269 - 2272, August 2026
2269: Intrada - Christians Awake (Stephen Gibson)This intrada heralds the happy morning when Christians celebrate the birth of Jesus. Fanfares surround the traditional Christmas Day hymn, Christians Awake (C.C. 20), where we are encouraged to 'awake, salute the happy morn'. Written in a processional style, this music was composed as a concert opener to be performed in a large church setting.2270: Jesus loves me (Stanley Kelley)Jesus loves me! (S.A.S.B. 807) is a song many church-goers learn as children. While written for children, its message is for everyone. John 15:9 says, 'As the Father has loved me, so have I loved you.'2271: Prelude on 'Deep Harmony' (Geoffrey Nobes)This piece was written for the Blendworth Band of Hampshire. The hymn tune, by Handel Parker, is one of the most beautiful and iconic melodies ever written, with lovely harmony supporting the rise and fall of a simple but perfect melodic line.2272: To the hills (Paul Sharman)The inspiration for this arrangement came during a walking holiday in the Lake District. Looking towards the hills brought to mind the words of Psalm 121 and Ernest Rance's setting of that passage, I Lift Up My Eyes (S.A.S.B. 208), with its lovely tune Ochills. This arrangement was written shortly after the composer's return home.
Estimated dispatch 7-14 working days
-
£38.95Unity Series Band Journal - Numbers 522 - 525, October 2023
522: Festival March - The Rescuers (Andrew Hedley)This exciting and bright festival march comes from a new contributor to the band journals. Andrew Hedley is a bandsman at Chester-le-Street Corps and a member of the Euphonium Section of the International Staff Band. This work contains inventive harmonic and melodic patterns and we hope this will be the first of many works from this composer to be seen in our journals.523: Moses and Pharaoh (Ralph Pearce)This piece owes its creation to the playing of the Montclair Citadel Young Peoples' Band in the Sunday School assembly every weekend. The song Pharaoh, Pharaoh is extremely popular and is sung with gusto and much movement. The presentation of this song derives for an accompaniment written for the band to play along with the singing. To widen its use, the spiritual Go down, Moses (STTL Vol.7, Part 2) was added to make the present composition. This music should have drive throughout and be played with a sense of fun.524: Lord, to thee (Alan Williams)This is a setting of the tune Hendon (T.B. 249). The piece uses the first verse of Frances Ridley Havergal's commonly associated text 'Take my life and let it be consecrated, Lord, to thee' (S.A.S.B. 623), and from there it takes its title.525: Song Arrangement - This is why (Noel Jones)This music is based on the tune This is why (T.B. 353) by Elisha Albright Hoffman and this two-verse arrangement reflects the great song of testimony Would you know why I love Jesus (S.A.S.B. 912). An associated scripture reference is found in Mark 10:45 'For even the Son of Man did not come to be served, but to serve, and to give his life as a ransom for many'. The motif 'Would you know' occurs in the opening bars and is repeated throughout the piece, along with fragments of the first verse. The chorus confirms the hoy that Christians experience knowing that Christ's sacrifice has bought forgiveness for our wrongdoings.
Estimated dispatch 7-14 working days
-
£77.00General Series Brass Band Journal, Numbers 2234 - 2237, August 2023
2234: Festival March - Above all names (Geoff McCorriston)This Festival March was originally written for the Camberwell Citadel Band, Melbourne, Australia. This composition marks the composers debut within our band journals. Geoff McCorriston served as Deputy Bandmaster at Preston Corps (Australia) for many years before joining the Camberwell Citadel Band. He has also been a member of the Melbourne Red Shield Band. Above all names is distinct from a standard street march in that it is more developed, both rhythmically and thematically. It is an original march that references We plough the fields and scatter (S.A.S.B. 70) and Camberwell (T.B. 182).2235: Flugel Horn Solo - Father, Creator (Simon Gash)Emma Pears has a gift for contemporary song-writing, with several of her songs featuring in the Sing to the Lord publication. The style and relaxed nature of the melody of Father, Creator (first published in the Children's Voices Series in 2011, and later in the Mixed Voices in 2014) seemed a perfect fit for the Flugel Horn. Throughout the piece, juxtaposed with Father, Creator, we hear snippets of the tune St Theodulph (T.B. 231), which outline the first lines of Albert Chesham's words, 'O Father and Creator, Thou God of perfect love' (S.A.S.B. 46).2236: A winter's carol (trs. Neil Smith)The history of the carol O come, Immanuel (C.C. 62) is, like the carol itself, a little mysterious! The melody was conceived as a monastic chant during the 8th century. It was not until 1851 that the priest and hymn writer John Mason Neale translated the verses into English, exposing the carol to a wider audience. There is an aura and enigmatic feel to this melody which is captivating to so many who hear it. This setting was originally conceived for wind band by American composer Mark Williams. The brass band transcription introduces a new name to our journals, Bandmaster Neil Smith, who is the Territorial Music Director for the USA Western Territory.2237: Mighty to keep (Eiliv Herikstad)Mighty to keep marks the composer's first publication since his Promotion to Glory in April 2023. Bandmaster Eiliv Herikstad served faithfully in his native Norway throughout his life, and since the early 1970s, has provided The Salvation Army with a wealth of original compositions and skilful arrangements. Eiliv explored many styles of big-band and jazz writing which, in the 70s, were not commonplace amongst brass bands, particularly in The Salvation Army. Music Editorial are grateful to Eiliv for using his gifts to support Salvation Army music ministry.The subject of this piece is Herbert Booth's song Mighty to keep, which was first published by The Salvation Army in 1889. The chorus of the song is more well-known that the verse and was included in the chorus section of the 1986 Salvation Army Song Book.
Estimated dispatch 7-14 working days
-
£95.00King Lear (Brass Band - Score and Parts)
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
-
£40.00
King Lear (Brass Band - Score only)
Sir Granville Bantock (1868 - 1946) composed the second of his five major brass band work for Callender's Cableworks Band, completing the commission on 30 November 1932. Based in the Thames-side district of Belvedere near Erith, the band was active between 1898 and 1961. The works band of the Callender Cable & Construction Co. Ltd, it was at the peak of its popularity during the 1930s and was a frequent broadcaster on the radio. The band employed an in-house arranger and played saxophones in its lighter material. King Lear was one of the band's major commissions and was not published in Bantock's lifetime. The manuscript score and parts were thought to be lost for decades, but were found in the library of the Haydock Band (Lancashire), which had inherited part of Callender's library of manuscripts material and bespoke arrangements after it has been transferred to nearby Prescott Cables Band after Callender's Cable Works closed.King Lear is a substantial work, in essence a dramatic tone poem in the romantic Tchaikovskian manner, presenting a series of character portraits of the foolish old king and his three daughters, Goneril, Regan and Cordelia. The music is dramatic and lyrical by turns, with the most generous lyrical episode revealing perhaps the warm-hearted Cordelia. An expansive melody that flows from this is brought back towards the end as the main climax of the work.In 2001, Bantock's score was recorded by the University of Salford Brass Band, conducted by Dr. Roy Newsome. The original is serviceable, but in comparison with the orchestral version he made in 1936 (part of which was recorded on a Paxton 78 rpm) and later brass band scores, performing editions of which were prepared by others, it lacks colour and range typical of Bantock's orchestral work. Above all it lacks percussion, which can be heard on the recorded extract. With the kind permission of the Bantock Estate, I have prepared a performing edition for publication that incorporates percussion, derived from the orchestral recording and added editorially in similar manner elsewhere. I have revoiced some of the low- lying instrumental parts to present the material in more comfortable ranges. Editorial interventions more elaborate than revoicing the original text have been identified as cue notes.- Paul HindmarshDuration: 15.00
Estimated dispatch 7-14 working days
-
£15.00The World Rejoicing (Brass Band - Study Score)
In searching for a common link between the brass band traditions of the various European countries that commissioned this work, I considered the fact that hymns have always played an important role in the relationship that brass bands have with their particular communities; and thus I turned to a well-known Lutheran chorale, Nun danket alle Gott (Now thank we all our God), written around 1636 by Martin Rinkart, with the melody attributed to Johann Crger. A number of composers have incorporated this chorale into their music, most famously J.S.Bach in his Cantatas no. 79 and 192, and Mendelssohn in the Lobsegang movement of his 2nd Symphony (the harmonization of which is usually used when this hymn is sung).It seemed fitting therefore for me to return to a compositional form I have used many times before (Variations) and to write a work based on this hymn. I have used it in a similar way to that which I employed in my Variations on Laudate Dominum of 1976 - that is, rather than writing a set of variations using elaborations of the complete tune, I have taken various phrases from the chorale and used them within the context of other musical material, applying an overall symphonic process of continuous variation and development. The structure, or sub-divisions of the work, which is through composed and plays without a break, is as follows: Prelude, Capriccio, La Danza 1, Processional, La Danza 2, Arias and Duets, Fuga Burlesca, Chorale, and Postlude.The work is also partly autobiographical - in the manner say of Strauss's Ein Heldenleben - in that I have incorporated into the score brief quotations from many of my other major works for brass band. In that respect, The World Rejoicing sums up a particular facet of my life as a composer, and reflects the admiration I have always had for what is surely one of the great amateur music-making traditions in the world.The World Rejoicing is dedicated 'in loving memory of my brother', Bramwell Logan Gregson, who sadly passed away in the Autumn of 2018.Edward Gregson
Estimated dispatch 7-14 working days
-
£45.00Triumph Series Band Journal July 2013 Numbers 1239 - 1242
No. 1239 March - Moving Onward (Nicholas Samuel)This march, written by Lieutenant Nicholas Samuel includes the melody from the song The Challenge of the Future written for the 125th Corps Anniversary at Upper Norwood. Other songs included are There's power in the blood of the Lamb , Here is the place and Wonder-working power.No. 1240 Selerction - O for a heart whiter than snow (Noel Jones)Eliza Edmunds Hewitt's song 'O for a heart that is whiter than snow', forms the basis for this selection written by retired Bandmaster Noel Jones. Brief references are also made to the choruses 'Grace ther is my every debt to pay' and 'Take up thy cross and follow me.No. 1241(1) Cornet Solo - In the bleak mid-winter (Trevor Worthington)A setting for cornet and band of the tune 'Cranham', written by Gustav Holst, with which we associate the words of the well-loved popular Christmas Carol.No. 1241(2) Invocation for thanksgiving (David Rowsell)Invocation, by definition, means ' a call to worship'. This music will serve this purpose for any Harvest or Thanksgiving service, using the tune, 'Come, ye thankful people, come'.No. 1242 High and lifted up (Steven Ponsford)This is music of an exciting yet relaxed nature, and it is intended that this piece be used to inspire and to 'lift up' listeners and players alike. Based on Michael W Smith's contemporary worship song, 'Open the eyes of my heart', this also contains the song 'Holy, holy, holy', to the tune of Nicea.
Estimated dispatch 7-14 working days
-
£110.00Diversions After Benjamin Britten (Brass Band - Score and Parts)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days
-
£45.00
Diversions After Benjamin Britten (Brass Band - Score only)
Suite by Lucy Pankhurst, Simon Dobson, Paul McGhee and Gavin HigginsHaving devised a collective centenary tribute for Michael Tippett at the 2006 RNCM Festival of Brass (Variations on a Theme of Michael Tippett by five eminent composers of brass band music, PHM002), I commissioned this companion piece as a Benjamin Britten tribute for the 2013 festival. In the late 1970s, while researching a book about the English composer, and Britten's first teacher, Frank Bridge (1879 - 1941), I came across a copy of the printed score of Benjamin Britten's Variations on a Theme of Frank Bridge (Op.10) for string orchestra, in which Britten had written descriptive titles for each of the variations suggesting appropriate character traits of his much loved mentor and guide. The character variations are cast in march, song and dance forms.Taking inspiration from Britten's youthful tribute, I invited four award-winning composers, who have all made significant contributions to the brass band medium, to create their own personal reflections on four aspects of Britten's character and music, designed to form a suite of Diversions after Benjamin Britten, but which can also be played separately.Lucy Pankhurst's hauntingly lyrical Prelude: His Depth refers to the emotional and symbolic subtexts that underpin Britten's operas, taking its musical cue from Britten's many arrangements of folk songs. The flugel horn takes a prominent role throughout.Simon Dobson's breathless Scherzo: His Vitality reminds us with its rapid passage work and leaping bass 'groove' that Britten loved tennis and fast cars in his younger days.Paul McGhee's evocative interpretation of the March: His Sympathy represents Benjamin Britten's pacifism, as the composer writes: 'We view the music through the eyes of a pacifist. Whilst war and violence surround us, we do not engage in it and though it continues to happen around us. With the use of muted effects in most of the band throughout the piece, the flugel horn is the lone voice of reason, standing firm against the mechanical and destructive society in which it is forced to live. As the machine of war continues around the lone voice, the voice is gradually dismissed and mocked as the war machine rumbles on into the distance.'In an extended finale, entitled Toccata: His Skill, Gavin Higgins celebrates Benjamin Britten's consummate creativity. For the RNCM Festival of Brass premiere, the four contrasting movements were framed and connected by Britten's Fanfare for St. Edmundsbury for three trumpets, with the trumpet soloists spaced round the hall. I am grateful to the Britten Estate and publishers Boosey & Hawkes for giving permission for the elements of Britten's fanfare to be incorporated in the collective work.- Paul HindmarshDuration: 19.30
Estimated dispatch 7-14 working days